历史、文化与民族:20世纪前期中国文化史的兴起

20世纪初,西方“文化”概念成为整理传统中国历史遗产的重要概念工具。国人编纂文化史有意展现传统中国的文化成就,反映出中西文化竞争下,国人隐秘的文化争胜意识。“文化”与“历史”结合,逐渐成为历史叙事的核心概念。文化史在史学研究的对象、价值判断、时代分期、研究方法等方面发展出自身特征,亦反映出西方文明史、文化史在理论和实践方面对中国“新史学”的影响。文化史在实践中注重对民族历史生活的呈现,表现出民族史的特征,其叙述特定群体或民族社会生活的方方面面,揭示群体的精神内核。历史、文化与民族融会一体,在西学东渐、传统文化权威失坠的情况下,文化史构建了一种彰显社会凝聚力的叙事。     

Party Politics and the Provincial Press in Early Twentieth Century England: The Case of the South West

Based on the evidence of Devon and Cornwall, politicians continuedto regard the provincial press as highly influential in determiningtheir readers' party political affiliations well into the twentiethcentury. Until at least 1914, many of the leading local andregional newspapers were owned by prominent local politicians.After 1918, especially following the amalgamation of the twomain Conservative and Liberal papers, local politicians feltkeenly their lack of a reliable source of press support. Thecost of funding a party political newspaper became too highfor all but the richest politicians. Moreover, the status ofthe provincial press was increasingly undermined by improvedrail communications, allowing the national press to competeeven in farthest Cornwall. The wireless also reduced the importanceof the provincial press from the late 1920s. The real political influence of the provincial press is impossibleto assess with any certainty. Newspapermen believed that, despitethe often substantial expenditure by politicians, a stronglyparty political paper was more likely to alienate non-partisanreaders, leading to neither political nor commerical success.Modern research also suggests that partisan newspapers are probablyonly partially successful, doing more to reinforce their readers'existing opinions than to convert non-believers. ^*I am grateful to the University of Reading Library for permissionto quote from the Lord and Lady Astory papers, and to the WesternMorning News for permission to quote from their records, whichare deposited at the West Devon County Record Office.     

Maps,Mapping, Modernity: Art and Cartography in the Twentieth Century

While the history of cartography has freed itself from debilitating debates over the scientific and artistic status of maps, considerations of the relationship between art and cartography have continued to focus largely on pre‐modern maps, avoiding critical examination of twentieth‐century art and science in cartography and leaving intact the impression that these followed distinct paths in the modern period. In this paper, however, I have drawn on theoretical work in Science Studies and taken account of modern art's separation from aesthetics to suggest that an examination of art and cartography in the twentieth century should focus on mapping practices rather than on maps as such. A summary overview of modern‐art movements and selected works indicates a continued, if critical, engagement of avant‐garde artists with cartography, and the examination of more popular newspaper artwork produced in the context of the intensely modern visual culture of mid‐twentieth century Los Angeles indicates a similarly close connection between modernity, art and cartography.